纪录片自媒体解说素材-新闻动态参考-“杜鲁门和田纳西州：亲密的对话”评论：卡波特和威廉姆斯之间的想象/‘Truman & Tennessee: An Intimate Conversation’ Review: An Imagined Tête-à-Tête Between Capote and Williams
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0508/2031oe3xy4qdtbh.jpg“杜鲁门和田纳西州：亲密的对话”评论：卡波特和威廉姆斯之间的想象
‘Truman & Tennessee: An Intimate Conversation’ Review: An Imagined Tête-à-Tête Between Capote and Williams
在仅三个功能的过程中，电影制片人丽莎·伊米尔迪诺·弗雷兰德（Lisa Immordino Vreeland）已经在那个纪录片的子流派文化猎犬上打了邮票，发现最不可抗拒的人物 -20世纪的个性肖像 - 以我们知道的名字（戴安娜·弗雷兰（Diana Vreeland），佩吉·古格（Peggy Guggenheim）分享其创意世界的私人领域。她以“杜鲁门和田纳西州：一次亲密的对话”，以一个泰坦的价格以一个泰坦为代价，在小说家杜鲁门·卡波特（Truman Capote）和剧作家田纳西·威廉姆斯（Tennessee Williams）之间取得了相似之处，他们的现实生活中的友谊兼竞争是一种自然的假人，可以在其中挂起。对这对典型的酷儿文学先驱者的量身定制的敬意。这是障碍 - 这不是很小的障碍 - 与Immordino Vreeland的先前主题不同，Capote和Williams是Wordsmiths，而不是视觉艺术家，这使得它们更难代表在屏幕上。因此，最终的项目比长篇电影和Devi更适合预订表单她使用的CES，例如雇用“乐队中的男孩”演员Jim Parsons和Zachary Quinto阅读采访和其他地方的摘录，就像彼此交谈一样，无法完全弥补从旧照片和日历中串在一起的Hokey蒙太奇 - 阳光般的云彩和叶子在风中吹来的艺术镜头。塞斯，足智多谋的热心几乎不希望两个有趣的主题比这两个吸引人的主题，他们的互补的南方养育和对人性的精明理解很好地反映了彼此。他们也是截然不同的人，但是电影的策略是找到亲和力，这是通过在“大卫·弗罗斯特（David Frost）表演”上并列每个出现的早期出现的亲和力 - 可以用来比较任何两个演讲的技巧 - 展示主持人的许多客人，但有助于在卡波特和威廉之间开始电影的“对话”。一开始，这部电影设置了两次男子会议 - 卡波特是16岁，威利AMS 29- 正如帕森（Parson）在卡波特（Capote）捏住的鼻音口音中背诵的那样，“这确实是一种智力友谊，尽管人们不可避免地会想到。”这部电影并没有涉及这种猜测，尽管考虑到这两个男人的爱/性生活并不害羞，这在一定程度上要归功于弗罗斯特的探索采访技术。很难想象一个当代面试官问一个公开同性恋公众人物的直接问题（这些天可能更“宽容”，但它否认同性恋的性维度）。那时，有这么多名人仍然被封闭，封闭，这两个人钦佩彼此的公司，甚至在意大利一起度过了（与他们各自的合作伙伴） - 克里斯托弗·伊瑟伍德·唐·唐·巴查里（Christopher Isherwood-Don Bachardy）的柏拉图式版本，也许是在“克里斯＆唐：爱情故事”中描绘的。就像在那部纪录片中一样，他们的私人生活与双方著名的艺术成果一样重要。 Immordino Vreeland意识到一些观众对她的主题比其他人，并编织了她的各种主题 - 野心和迷信，嫉妒和好评，爸爸对母亲的发言和纪念 - 围绕其职业生涯的时间顺序排列。她在没有通常的外部专家拐杖的情况下做到这一点，依靠两个男人的话来提供观点。 ，纪录片有义务在书本或戏剧上依靠他们的电影。马龙·白兰度（Marlon Brando）可能已经改变了“有轨电车欲望”的行为，但是那场革命发生在四年前的百老汇舞台上，因此电影中的场景虽然几乎无关紧要，但并没有讲述整个故事。同样，电影版本的“蒂芙尼早餐”虽然肯定是挚爱的，但对于任何capote粉丝来说，都不像小说那样有趣，在该小说中，作者的声音通过了（角色在哪里他想象的是玛丽莲·梦露（La Marilyn Monroe）的“未完成”类型，他想要这个角色）。卡波特对奥黛丽·赫本（Audrey Hepburn）的演员感到失望。Ergo，电影中的剪辑实际上歪曲了他的视野。看着“杜鲁门和田纳西州”的经历肯定会感到熟悉的任何人都曾经购买过一本关于一个心爱的主题的收缩包裹的咖啡桌书，只是把它带回家，打开，打开它并意识到治疗并不能完全衡量。很高兴在这两个智力的复活公司中度过一个半小时，但是这种经历感觉就像是阅读关于任何一个男人的传记的懒惰替代品，而iMovie风格的编辑策略在旧照片层之间缓慢衰落的策略使他们感觉像是遗忘的过去的幽灵。
Over the course of just three features, filmmaker Lisa Immordino Vreeland has already made a stamp on that documentary subgenre culture hounds find most irresistible — the 20th-century personality portrait — taking names we know well (Diana Vreeland, Peggy Guggenheim and Cecil Beaton) and sharing the private realms of their creative worlds. With “Truman & Tennessee: An Intimate Conversation,” she delivers two titans for the price of one, drawing parallels between novelist Truman Capote and playwright Tennessee Williams, whose real-life friendship-cum-rivalry serves as a natural dummy on which to hang a tailored homage to this quintessential pair of queer literary pioneers.
The trouble — and it’s no small obstacle — is that unlike Immordino Vreeland’s previous subjects, Capote and Williams were wordsmiths, not visual artists, which makes them harder to represent on-screen. As such, the resulting project feels better suited to book form than that of a feature-length movie, and the devices she uses, like hiring “The Boys in the Band” castmates Jim Parsons and Zachary Quinto to read excerpts from interviews and elsewhere as if speaking to one another, can’t quite compensate for the hokey montages strung together from old photographs and calendar-art shots of sun-crowned clouds and leaves blowing in the wind.
Still, the resourceful helmer could hardly hope for two more intriguing subjects than these, whose complementary Southern upbringings and shrewd understanding of human nature reflect one another nicely. They were vastly different individuals as well, but the movie’s strategy is to find the affinities, which it does early on by juxtaposing each of their appearances on “The David Frost Show” — a trick that could be used to compare any two of the talk-show host’s many guests, but one that serves to kick off the movie’s imagined “conversation” between Capote and Williams.
At the outset, the movie sets up the two men’s meeting — Capote was 16, Williams 29 — as Parson recites in Capote’s pinched nasal accent, “It really was a sort of intellectual friendship, though people inevitably thought otherwise.” The movie doesn’t dwell on such speculation, although it’s not shy about considering the two men’s love/sex lives, thanks in part to Frost’s probing interviewing technique. It’s hard to imagine a contemporary interviewer asking such direct questions of an openly gay public figure (these days may be more “tolerant,” but it comes in denying the sexual dimension of homosexuality).
Out at a time when so many celebrities remained closeted, these two admired one another’s company and even vacationed together (with their respective partners) in Italy — a platonic version of the Christopher Isherwood-Don Bachardy pairing depicted in “Chris & Don: A Love Story” perhaps. As in that documentary, their private lives are as significant as both parties’ better-known artistic output. Immordino Vreeland realizes that some audiences know more about her subjects than others, and weaves her various themes — ambition and superstition, jealousy and acclaim, daddy issues and remembrances of their mothers — around a chronological account of their careers. This she does without the usual crutch of outside experts, relying on the two men’s words to supply perspective.
But here the film hits a snag, since neither Capote nor Williams ought to be defined by the Hollywood films that came of their work, and yet, the documentary is obliged to lean on their movies over the books or plays. Marlon Brando may have changed the course of acting with “A Streetcar Named Desire,” but that revolution happened four years earlier on the Broadway stage, so scenes from the film, while hardly irrelevant, don’t tell the whole story. Similarly, the movie version of “Breakfast at Tiffany’s,” while certainly beloved, isn’t nearly as interesting to any Capote fan as the novel, in which the author’s voice comes through (and where the character was imagined as more of an “unfinished” type, à la Marilyn Monroe, whom he wanted for the role). Capote was disappointed by the casting of Audrey Hepburn; ergo, clips from the movie actually misrepresent his vision.
The experience of watching “Truman & Tennessee” will surely feel familiar to anyone who has ever purchased a shrink-wrapped coffee-table book about a beloved subject, only to take it home, open it and realize the treatment doesn’t quite measure up. It’s a pleasure to spend an hour and a half in the resurrected company of these two intellects, but the experience feels like the lazy alternative to reading biographies about either man, while the iMovie-style editing strategy of slow-fading between layers of old photographs makes them feel like ghosts of a long-forgotten past.
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资源真不错，感谢分享！ 感谢分享，下载收藏了。最喜欢高清纪录片了。 谢谢更新，天天学习，天天向上！
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